susan tedeschi

Susan Tedeschi creció en la ciudad de Norwell, Massachusetts, estudiando en el ‘Berklee College of Music’ en el cual se graduó en composición musical y en interpretación. A los 15 años, formó un grupo musical llamado ‘the Smoking Section’, dedicándose a cantar música gospel en el coro del instituto y a interpretar canciones blues en locales de la ciudad de Boston.

En 1994, junto a Tom Hambridge y Adrienne Hayes, formó el grupo Susan Tedeschi Band; en 1995 comenzó a tocar la guitarra y se publicó el disco “Better Days”, teniendo únicamente repercusión local. Las sesiones de grabaciones, a partir de 1997, fueron adquiridas por la compañía discográfica Tone-Cool Records, siendo publicado en 1998 el disco “Just Won’t Burn”, el cual recibió buenas críticas de las revistas especializadas en blues.

De 1998 a 1999, Susan Tedeschi realizó giras por todo Estados Unidos, mostrando una espectacular puesta en escena y contando con una poderosa voz. Tedeschi, más adelante, sería telonera de John Mellencamp, B. B. King, Buddy Guy, Allman Brothers Band, Taj Mahal y Bob Dylan. En el año 2000, el disco “Just Won’t Burn” se convirtió el disco de oro al vender 500.000 copias en Estados Unidos, un hito no muy común en los discos de blues. Susan grabó dos canciones con dos componentes del grupo Double Trouble, Chris Layton y Tommy Shannon.

Se ha descrito la voz de Susan Tedeschi como una mezcla de las voces de Bonnie Raitt y Janis Joplin; su forma de tocar la guitarra está influenciada por músicos como Buddy Guy, Johnny “Guitar” Watson, Stevie Ray Vaughan, Freddie King y Doyle Bramhall II.En 2001 contrajo matrimonio con Derek Trucks, uno de los primeros guitarristas del grupo Allman Brothers Band, el cual lidera su propio grupo (Derek Trucks Band), y es sobrino de Butch Trucks ( batería fundador de Allman). Tedeschi y Trucks se conocieron durante la gira de verano de Allman Brothers Band en 1999. Tienen dos hijos, Charlie y Sophia, y viven en Jacksonville, Florida.

Susan es nieta de Nick Tedeschi y bisnieta de Angelo Tedeschi, dos famosos magnates de supermercados en Massachusetts.

Originally released in 1995, Better Days was re-released after the success of Just Won’t Burn created a legion of blues fans wanting more of Susan Tedeschi. This record finds Tedeschi’s guitar prowess and eminent vocals proliferating the musical landscape in the same manner of blues legends who have gone before her. The tracks “It Hurts Me Too” and “Ain’t Nobody’s Business” are classic slow, bluesy songs complete with emotional vocal wailings that are sure to bring the house down when performed in a live arena. She picks up the pace with “Locomotive” and “I Don’t Want Nobody,” showing off her six-string skills. While there is no question that Tedeschi is a true talent and a blues force to be reckoned with, the musical arrangements could be improved by using a less-formulaic blues structure and attempting to offer something more contemporary. She has proven herself worthy of sharing the stage with the masters; her next challenge should be to break away and create her own sound.

The very idea of a lady slinging a guitar sets traditional blues fans swooning. But with the release of her debut, Susan Tedeschi slings, aims, and hits her target. What a talent! Singer, songwriter, player, performer, and more, the lady from Boston can do it all. Effective, she does justice to John Prine’s classic “Angel from Montgomery” while making her own efforts known. Her tunes include “You Need to Be with Me,” “Found Someone New,” and the title cut. Leading her own band, she has what it takes to keep the boys in line while she wails away. Big Mama Thornton and Bessie Smith must be proud, and B.B. King must be impressed, since she has opened for that blues master on several occasions. Just a little taste of things to come, Just Won’t Burn blazes a trail that Tedeschi is pioneering for herself and younger women in the blues world. A brave heart with spunk and plenty of soul.

Since it comes a whopping four years after her wildly successful major-label debut and Best New Artist Grammy nomination, the appropriately titled Wait for Me is a highly anticipated follow-up for an artist who nearly slipped into the “where is she now” bin. While the album doesn’t totally justify the extended wait, Tedeschi returns with a tough, uncompromising release that’s the equal of its predecessor. After touring the world, then marrying and having a baby (with husband/guitarist Derek Trucks), Tedeschi has shifted styles from guitar-slinging blues mama into a subtler but still passionate R&B approach. Trucks contributes a few of the album’s bluesiest moments, laying into a slide solo on Paul Pena’s exuberant “Gonna Move” that injects soul into its hooky chorus and bouncy groove. The title track’s low-key horns, jazzy flourishes, and gospel underpinnings recall ’60s Etta James, and a version of Dylan’s “Don’t Think Twice It’s Alright” transforms the folk chestnut into a touching, torchy swamp ballad. It’s here and on Tedeschi’s own lovely “In the Garden” where her expressive vocals are a ringer for Bonnie Raitt’s similar style. Those fired up by Just Won’t Burn will easily warm to Wait for Me. With classy yet scorching performances and songs infused with roots rock, blues, funk, and even pop, it’s a crossover album that oozes with integrity, terrific playing, and a loose yet distinctive direction.

Part of a new series of recordings taken from the Austin City Limits broadcasts, Susan Tedeschi’s performance is a more complete — though not unedited — version of what viewers saw on TV. Tedeschi’s music naturally gives itself to a live setting. The program is a good one; featuring her regular band, this set juxtaposes a nice collection of material that has appeared on her studio albums, performed with a wonderful balance of passion and finesse that free-ranges across R&B, blues, and funk. Tedeschi’s gifts as a singer are considerable. She understands the limits of her middling range and knows how to emphasize nuance and expressiveness. In fact, though most obviously influenced by Bonnie Raitt, she is a true vocal stylist with her own unique sense of phrasing — and live, the added grit and grease underscore the emotional nature of her tunes. As a guitar player, she’s as slinger, period. She can hang with anyone. To top it all off, her bandmembers are crack; they pop the grooves in all the right places and never drop it. The finest moments here are her own songs, such as “I Fell in Love,” “In the Garden,” and “Wrapped in the Arms of Another.” But some of the covers here stand out from their studio renditions, such as her now signature read of Paul Pena’s “Gonna Move,” Tommy Sims’ “Alone,” Stevie Wonder’s “Love’s in Need of Love Today,” and her barn-burning version of John Prine’s “Angel from Montgomery,” which is so closely identified with Raitt. “Gonna Move,” in particular, is almost an anthem at this point; Tedeschi’s easy delivery and deep soul/gospel expressiveness are buoyed by the Hammond B-3 punch of Jason Crosby that swirls around her voice as she coaxes heartbreak and determination from Pena’s lyric. This is a fine Tedeschi artifact; it doesn’t replace her studio outings in any way, but it complements them nicely.

On her first outing in three years and her freshman offering for Verve’s Forecast label, Susan Tedeschi digs deep into the soul and R&B fakebook for inspiration and comes out a winner. With an all-star band that includes guitarist Doyle Bramhall II, pianist David Palmer, organist Jebin Bruni, bassist Paul Bryan, drummer Jay Bellerose, and guests including husband Derek Trucks and the Blind Boys of Alabama, Tedeschi goes down into her own heart’s well for inspiration. Wonderfully produced by Joe Henry, Hope and Desire is truly a singer’s showcase of passion and class; she has signature phrasing and is an excellent interpreter. Henry proves that Tedeschi is one hell of a singer. From the roots-country blues of the Jagger and Richards opener, “You Got the Silver,” to the hardcore soul of Otis Redding’s “Security” (her version is closer to the Etta James reading than Redding’s but Tedeschi puts her own hard spin on it), the garbage-can blues guitar of Percy Mayfield’s ripping “The Danger Zone,” and the finger-poppin’ R&B of “Tired of My Tears,” Tedeschi proves she’s second to none by wringing every ounce of truth from these classic tunes. In addition, her subtle, to-the-bone reading of Bob Dylan’s “Lord Protect My Child” (with great Dobro work by Trucks), a definitive version of Iris DeMent’s “Sweet Forgiveness,” and Dorsey Brunette’s “Magnificent Sanctuary Band” offer solid proof that Tedeschi can sing gospel as well. In fact, based on the evidence here, she can sing any damn thing she likes and move your heart, making you believe every word and wail in the grain of a song. That’s as high a compliment as one can pay.

With a vibrant, versatile voice (sounding at times like an inspired mix of Janis Joplin and Bonnie Raitt) capable of adding subtle emotional shifts to slow-burning ballads or rocking out with the big boys, Susan Tedeschi burst on the scene at the close of the 1990s like a breath of fresh air in an era of prefab MTV teen idols. Like Raitt, Tedeschi works from a blues base, but she mixes in a strong sense of R&B and gospel, and with Back to the River, her second release for Verve Forecast, she shows that she’s really starting to find herself as a songwriter, as well. Tedeschi wrote or co-wrote all but one of the 11 tracks here, and while one could still say these songs are based in her beloved blues, like Raitt, she has branched out from there to become a solid pop artist with a real and accessible vision, and the blues is just the engine under the hood. There are some wonderful moments here, including the big and funky title track, “Back to the River,” which Tedeschi co-wrote with swamp pop master Tony Joe White, the sincere and solid “Learning the Hard Way,” co-written with Gary Louris of the Jayhawks, and the impressive “Butterfly,” which Tedeschi’ co-wrote with her husband, Derek Trucks. The lone cover, a marvelous, horn-driven version of Allen Toussaint’s “There’s a Break in the Road” (originally recorded in 1969 by Betty Harris), fits seamlessly in with the newer material. Then there is Tedeschi’s voice, which is a wonderful instrument, strong and hushed by turns, and she carries the full weight of the world’s possibilities when she sings, ranging from wounded to determined, delicate to brash, always getting to the emotional center of the song. Tedeschi has already put out some great albums but as she continues to grow as a songwriter, her best work may still be in the future. Meanwhile, Back to the River will serve fans just fine.

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